On this episode, Kirk climbs to the top of a snowy peak and summons all his magical powers to figure out why Elsa of Arendelle's self-coronation song rocks as hard as it does, and what it says about the evolution of Disney musical numbers over the past 30 years.

]]>What happens when you put a straight-up power ballad in the middle of a Disney movie? "Let it Go" happens, that's what.

On this episode, Kirk climbs to the top of a snowy peak and summons all his magical powers to figure out why Elsa of Arendelle's self-coronation song rocks as hard as it does, and what it says about the evolution of Disney musical numbers over the past 30 years.

]]>51:11nofull"Bohemian Rhapsody" by QueenWed, 20 Feb 2019 10:00:00 +0000Is this the real life? Is this just fantasy? Well, either way, this is definitely an episode of Strong Songs about Queen's genre-blending rock saga "Bohemian Rhapsody."

Kirk dives into Freddie Mercury's operatic opus and learns a lot about vocal technique, piano motifs, harmonic easter eggs, studio production, Strategic Brian May Deployment™, and all the ways doubling a track can make your voice sound cool in the studio.

You can now follow a Spotify playlist with all the songs from this show, as well as everything featured as one of Kirk's music picks on his other podcast, Kotaku Splitscreen.

]]>49:50nofull"Dancing Queen" by ABBAWed, 06 Feb 2019 10:00:00 +0000It's time to get lost in the bittersweet beats of ABBA's 1976 hit "Dancing Queen." On this longer-than-usual episode, Kirk tries to tease out some of the things that make this song so iconic and enduring, from its lush arrangement to its clever harmonies, repeating melodic motifs, and maximalist audio production.

]]>It's time to get lost in the bittersweet beats of ABBA's 1976 hit "Dancing Queen." On this longer-than-usual episode, Kirk tries to tease out some of the things that make this song so iconic and enduring, from its lush arrangement to its clever harmonies, repeating melodic motifs, and maximalist audio production.

It’s been a couple months since I produced this episode, and just a few days since I watched the first part of “Leaving Neverland,” a devastating new HBO documentary in which two men, Wade Robson and James Safechuck, detail their alleged childhood sexual abuse at the hands of Michael Jackson. It’s an intense and difficult documentary to watch, but I recommend that everyone listening to this episode do so. Jackson’s estate denies it all, but watching people on camera relaying such painful memories, in such excruciating detail, is both wrenching and convincing.

It’s impossible to separate an amazing song like “Thriller” from the man who sang it. I still think Thriller is a great song and admire the many people involved in making it, but hearing Robson and Safechuck’s accounts, on top of the similar stories I and the culture at large brushed aside or shrugged our shoulders at when they first surfaced many years ago, has certainly changed the way I hear Jackson’s voice. I’m leaving this episode as is, but I wanted to add this note, as well as to link to this New York Times editorial on Jackson’s legacy by Wesley Morris, which says so much, so well.

~KH 3/6/2019

]]>Darkness falls across the land, and it's the right time for Michael Jackson's "Thriller." Kirk picks apart Rod Temperton's dance floor classic in all its groovy, corny, sound effect-y glory.

It’s been a couple months since I produced this episode, and just a few days since I watched the first part of “Leaving Neverland,” a devastating new HBO documentary in which two men, Wade Robson and James Safechuck, detail their alleged childhood sexual abuse at the hands of Michael Jackson. It’s an intense and difficult documentary to watch, but I recommend that everyone listening to this episode do so. Jackson’s estate denies it all, but watching people on camera relaying such painful memories, in such excruciating detail, is both wrenching and convincing.

It’s impossible to separate an amazing song like “Thriller” from the man who sang it. I still think Thriller is a great song and admire the many people involved in making it, but hearing Robson and Safechuck’s accounts, on top of the similar stories I and the culture at large brushed aside or shrugged our shoulders at when they first surfaced many years ago, has certainly changed the way I hear Jackson’s voice. I’m leaving this episode as is, but I wanted to add this note, as well as to link to this New York Times editorial on Jackson’s legacy by Wesley Morris, which says so much, so well.

~KH 3/6/2019

]]>29:34nofull"I Wish" by Stevie WonderWed, 26 Dec 2018 10:00:00 +0000Kirk breaks out the bass and digs into what makes Stevie Wonder's "I Wish" swing like it does, then looks back to some earlier Wonder tunes to guess at why his funkiest stuff tended to be in E-flat.

]]>Kirk breaks out the bass and digs into what makes Stevie Wonder's "I Wish" swing like it does, then looks back to some earlier Wonder tunes to guess at why his funkiest stuff tended to be in E-flat.

]]>27:29nofull"Single Ladies" by BeyoncéWed, 12 Dec 2018 10:00:00 +0000On this episode, Kirk dives into one of the greatest pop songs of all time.

Beyoncé's "Single Ladies (Put A Ring On It)" is arguably the defining song of the last decade, but it's far from your average pop tune. With its unusual tensions and unstoppable groove, it defies safe harmony and resolution, and its composers were more than happy to flip the beat and leave their audience searching for the downbeat.

]]>On this episode, Kirk dives into one of the greatest pop songs of all time.

Beyoncé's "Single Ladies (Put A Ring On It)" is arguably the defining song of the last decade, but it's far from your average pop tune. With its unusual tensions and unstoppable groove, it defies safe harmony and resolution, and its composers were more than happy to flip the beat and leave their audience searching for the downbeat.

]]>26:22nofull"You Can Call Me Al" by Paul SimonWed, 28 Nov 2018 08:00:00 +0000This week, Kirk breaks down one of his favorite songs from one of his favorite albums.

Paul Simon's "You Can Call Me Al" was a single from his incredible 1986 album Graceland, and its music video introduced a generation to the wonders of goofy lip-synching and fretless bass solos. It's a harmonically simple tune with a cleverly dense arrangement, and brilliantly uses musical layering.

]]>This week, Kirk breaks down one of his favorite songs from one of his favorite albums.

Paul Simon's "You Can Call Me Al" was a single from his incredible 1986 album Graceland, and its music video introduced a generation to the wonders of goofy lip-synching and fretless bass solos. It's a harmonically simple tune with a cleverly dense arrangement, and brilliantly uses musical layering.

]]>17:51nofull"Africa" by TotoSun, 18 Nov 2018 21:01:35 +0000On the first episode of Strong Songs, Kirk breaks down Toto's hit song "Africa," a single so good that it still lights up the Internet today.